Tablicowe epitafium Stanisława Chroberskiego w katedrze sandomierskiej oraz Stanisław Tarło – jego fundator związany z Krosnem
Plaque Epitaph of Stanisław Chroberski in Sandomierz Cathedral and – Stanisław Tarło – its founder connected with Krosno

Summary/Abstract: The epitaph of Stanisław Chroberski in Sandomierz Cathedral, created around 1520 in thepainterly environment of Kraków, is one of the most valuable monuments of panel paintingfrom the turn of the Middle Ages and modern times. It has been the subject of numerouspublications and mentions in the scientific literature over the years. The recent conservationof this work, carried out in 2015, provided an opportunity for detailed research and thepreparation of a modern monograph on this monument. The founder of the epitaph, the thenroyal secretary Stanisław Tarło, who, as Bishop of Przemyśl, spent his last years in Krosno,died there in 1544 and was buried in the local parish church, is not without significance forthe place of publication of this article.None of the authors to date, dealing with Chroberski’s epitaph, have taken the trouble toestablish whether the present shape of the work should indeed be considered the original.Nor has anyone attempted to reconstruct the circumstances under which this work was commissioned, or to ask whether the stone slab with the text of the epitaph inscription, set intothe pillar of the nave, can indeed be considered in the context of a simultaneous foundationtogether with the panel painting.The research of the author of this article shows that the elements – which make up the currentartistic shape of the monument – did not originally form a single whole. The painting in thecoping and in the predella are disassembled parts of an altarpiece, most probably of a triptychcharacter, created in the workshop of an anonymous painter from Małopolska called theMaster of Polyptych in Szyk. At an unspecified time, perhaps as late as the second half of the19th century, they were secondarily combined with a panel painting, an outstanding work ofKraków painting from the early 1620s, originally forming the central part of the epitaph ofStanisław Chroberski. The result was a kind of imitation of a single-axis altar retable hungon one of the stone pillars of the Sandomierz Cathedral nave. In this form, the structure hassurvived to the present day and has been treated by all previous researchers – although quitewrongly – as an artistically homogeneous ensemble.

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